Tsayutitsa, also known as Mrs. Milam's mother, was certainly one of the finest potters of the first half of the 20th century from Zuni Pueblo. She is known for her superbly formed jars and meticulous painting of designs. Her pottery was not signed but it is unmistakably identified by the superb craftsmanship. This jar is without a doubt the work of Tsayutitsa.

Dr. Edwin Wade has examined this jar and prepared a document of description and authentication, which we reprint below:

A ZUNI POLYCHROME JAR BY TSAYUTITSA C. 1935

"Zuni stylistic conventions may appear broadly consistent over time. However, prior to the mid-19th century, the potters of the Kiapkwa and earlier Ashiwi traditions (forerunners of modern Zuni) were notably experimental. These earlier times witnessed increased pan-Puebloan communication and travel and through this widened contact new ideas flowed.

"The second half of the 19th century, with the coming of Anglo settlers and a host of new diseases, was difficult for all the Pueblos, but particularly for the remote communities of Hopi and Zuni. The harshness of these times likely contributed to an aesthetic and compositional entrenchment of Zuni. Yet, as attested to by early anthropologists, conservatism may also spring from a group psyche in which difference and the unusual are approached with distrust and aversion. The more that Zuni became 'stay at home' the greater their preference for a limited number of design compositions and layouts such as 'deer jars' and hachured 'rain birds' and rectangular geometrics.

"There was assuredly a positive side to this conservatism, as evidenced in this beautifully shaped and painted jar. The flashiness of innovation can obscure degrees of artistic perfectionism and technical excellence. Within Zuni ceramics, it's impossible to hide lack of artistic skill behind the glamour of the new and unusual.

"The deer pot pictured above is composed of four vertical under- to upper-body design fields, two of which have three horizontally stacked panels containing housed black deer separated by a band of serially repeated red birds, offset by two elongated rectangular panels which each contain one arabesque Spanish-derived motif. This particular composition first arose in the late 1860s to early 1870s and has been a hallmark of Zuni art ever since.

"Comparing such vessels from their inception to the present day easily separates the vast majority of rank and file competent talent from that of the very few geniuses. This jar, made in 1935 by the master Zuni potter Tsayutitsa (1870s - 1959), is one of those few masterpieces.

"By the turn of the 20th century, Zuni pottery was in decline. Certain scholars maintain that only three or so potters of that time were capable of matching the greatness of their 19th century counterparts. And of those few, Tsayutitsa was unquestionably the best. She specialized in oversized storage jars, which likely was a result of her working for the Indian trader C. G. Wallace. Wallace was widely known for supplying museums and advanced collectors with the finest of ancient and modern Zuni art.

"Her vessels are characterized by bulbous, bubble-like bodies with a sharp upperbody (sic) flexure from which a short conical neck arises. A heavy white kaolin slip was applied to the clay body and meticulously stone polished. The result is a creamy, lustrous finish that is finely crazed. The vessels are thin-walled and the painting is richly-colored, extremely precise, and refined.

"Notably, in addition to all these traits, this jar displays one of the earliest known evidences of an artist's 'signature' on Pueblo pottery at a time well before this became common practice. This jar is inscribed on the interior of the upper shoulder as follows: 'ZUNI 1935 N. M.' These words, almost certainly written by the potter, are executed in child-like, large block capital letters and are rendered in the exact same red paint used by the artist in painting the exterior design of the jar. UV light examination reveals that the inscription was applied after the vessel was fired. It is possible that this 'signature' could have been added at the behest of Tsayutitsa's longtime patron, trader C. G. Wallace, to mark the jar for participation in or a competition judging at an event such as the nearby Gallup Ceremonial. In any event, this marvelous inscription is unique in my experience and is another testament to the special and compelling nature of this vessel.

"In my estimate, Tsayutitsa is one of the master Pueblo potters along with Nampeyo of Hopi and Maria Martinez of San Ildefonso. I am not alone in this assessment as reflected in the comments of Robert Gallegos in describing a Tsayutitsa jar for sale at Skinner's auction (Sale 2376 - lot 340) 'Tsayutitsa was a great potter and a great painter, making her in my opinion, one of the best, if not the best potter of all time.'

"Museums throughout the United States are now combing their collections with new expertise in the hope of finding a Tsayutitsa within their holdings. When one is found it is rushed to the exhibition gallery. To personally own one of her vessels is a rare privilege as she is deserving of a hallowed place within any collection."
/// Signature ///
Edwin L. Wade, Ph.D.

Condition: excellent condition
Provenance: from a gentleman in Santa Fe
Recommended Reading: The Pottery of Zuni Pueblo by Harlow and Lanmon

Subject: Zuni Pueblo Polychrome Jar by Tsayutitsa, c.1935
Artist / Potter: Tsayutitsa (1870s - 1959)
Category: Historic
Origin: Zuni Pueblo
Medium: clay, pigment
Size: 8-7/8" tall x 11-3/8" diameter
Item # 25612

Tonita Peña, whose Indian name was Quah Ah, was born in 1893 in the tiny New Mexico pueblo of San Ildefonso on the Rio Grande, just north of Santa Fe. At about the age of 12, her mother passed away and her father, unable to raise her and tend his fields and pueblo responsibilities, took her to live with her aunt and uncle at Cochiti Pueblo, where she spent the remainder of her life.

Tonita was the only woman in the group of talented early pueblo artists referred to as The San Ildefonso Self-Taught Group, which included such noted artists as Julian Martinez, Alfonso Roybal, Abel Sanchez, Crecencio Martinez, and Encarnación Peña.

By the time Tonita was 25 years old, she was a successful easel artist, and her work was being shown in museum exhibitions and in commercial art galleries in Santa Fe and Albuquerque. She painted what she knew best — scenes of life at the pueblo — mostly ceremonial dances and everyday events. She is still considered one of the best female Indian artists of all time.

Tonita was very ingenious in the manner in which she signed her paintings. After extensive and careful study of over one hundred of her paintings, it is possible to date a number of her paintings, within reason, by the manner in which they were signed.

Joe Herrera has stated that when his mother first started painting she signed all of her paintings with her Indian name

This lasted until sometime in 1915. A variation of this signature occurred shortly before or at the time Tonita became pregnant with her second son, Joe H. Herrera, probably in 1917 or 1918. She then modified

and used the signature

separating and capitalizing the H in her first name, in honor of her second husband, Herrera. This was used until the death of Felipe Herrera in 1920. These signatures are rare as Tonita did not paint much at that time.

She began to use her baptismal name, 

sometimes alone, sometimes with the pueblo name, and sometimes embellished with a decorative motif. She continued using this until she met Epitacio Arquero in about 1921.

She then used both names in her signatures, one name above the other: 

A very few of Tonita's works painted in 1922 and 1923 were signed

in honor of her husband, Epitacio Arquero. These signatures are also quite rare.

In the early 1930s Tonita began using small combinations of cloud, rain, and storm motifs in conjunction with her name or names, sometimes using the names with the motifs. These became more intricate and complicated in design as time went on, and were used until her death. Remarkably, Tonita never repeated the same design, but always used a different combination on each painting.

Excerpted from: Tonita Peña by Samuel L. Gray, 1990. Avanyu Publishing (Alexander E. Anthony, Jr.), Santa Fe, New Mexico.

This original painting by Tonita Peña (Quah Ah) of San Ildefonso Pueblo was probably painted in 1921, this being based on the dual signature of her Native name and baptismal name.

The image depicts a male pueblo Corn Dancer in the traditional style with no ground plane and no background. In her paintings of dancers such as this she was able to make her dancers appear in motion rather than fixed in time. He is beautifully rendered in all the splendor of his dance clothing and body paint. Tonita was very good and presenting the finest detail of her dance figures.

Joe Herrera has stated that when his mother first started painting she signed all of her paintings with her Indian name. This lasted until sometime in 1915. A variation of this signature occurred shortly before or at the time Tonita became pregnant with her second son, Joe H. Herrera, probably in 1917 or 1918. She then modified and used the signature separating and capitalizing the H in her first name, in honor of her second husband, Herrera. This was used until the death of Felipe Herrera in 1920. Around 1921, she started using both of her names, one above the other.

Condition: appears to be in good condition with a slight browning of the paper
Provenance: from the collection of a Santa Fe family
Recommended Reading: Tonita Peña by Samuel L. Gray

Subject: Original Painting of a Pueblo Corn Dancer, circa 1921
Artist: Tonita Vigil Peña (1893-1949) Quah Ah
Category: Paintings
Origin: San Ildefonso Pueblo
Medium: gouache
Size: 7-1/2" image x 5-1/2" image; 11-3/4" x 9-3/4" framed
Item # C3374

Blue Corn was born in San Ildefonso around 1923 and was encouraged by her grandmother, at an early age, to "forget school and become a potter." She did attend school at the pueblo and later at the Santa Fe Indian School, however. At age 20, she married Santiago, a Kewa Pueblo (Santo Domingo) silversmith. During the 1940s, she worked at Los Alamos as a housecleaner for J. Robert Oppenheimer. Shortly after World War II, she took up pottery making and found her calling.

Blue Corn is famous for re-introducing San Ildefonso polychrome wares which had become a lost product after the blackware of Maria and Julian had become in such demand in the 1920s. She also made blackware and redware but is most often associated with polychrome wares.

Blue Corn passed away on May 3rd, 1999.

Credit: Photograph images courtesy of Garry and Susan Zens. Copyright Adobe Gallery, all rights reserved.

Blue Corn is responsible for reviving Polychrome pottery at San Ildefonso Pueblo. After Maria and Julian Martinez made the Black-on-black famous, the Polychrome wares faded into history. Blue Corn produced blackware and redware but her specialty was her beautiful Polychrome pottery.

This jar is not what one pictures when one thinks Polychrome, but technically it is comprised of three colors. A tan slip was applied to the upper portion of the vessel and left in a matte finish; a pewter slip was applied to the lower section and stone polished to a very high luster. Black outlining of the Avanyu and adjacent edges completed the third color.

The bowl is signed Blue Corn San Ildefonso Pueblo.

Condition: in very good condition.
Provenance: from a gentleman in Albuquerque
Reference and Recommended Reading: Pueblo Indian Pottery: 750 Artist Biographies by Gregory Schaaf

Subject: San Ildefonso Polychrome Jar by Crucita Gonzales Calabaza (Blue Corn)
Artist / Potter: Crucita Gonzales Calabaza (1921-1999) Blue Corn
Category: Contemporary
Origin: San Ildefonso Pueblo
Medium: clay, pigment
Size: 3-3/4" tall x 7-1/4" diameter
Item # C3369B

Each year Hopi women take part in a ceremony called the Basket Dance during which possessions of increasing value are discarded and fought over by a waiting crowd of male spectators. Objects of lesser importance, like tennis shoes or plastic dishware, are the first items to be thrown out. But as the dance progresses, the objects become more valuable. Woven baskets and plaques made by the women are the last to go and are fought over with the greatest intensity, as evidenced in the spinning combatants depicted in "Hopi Conflict."

The original wood carving for this bronze was so precisely balanced that it stood independent of its base and was formed from one twisted piece of cottonwood root.

This limited edition bronze of Hopi artist Lowell Talashoma, Sr. is the manifestation of an artistic eye and vision that spans two cultures, for Lowell was unusual in having spent many of his childhood years in the care of foster parents who raised him in a mainstream American home. Becoming Hopi meant for Lowell Talashoma, Sr. accepting a new reality and set of beliefs as well as coming to understand the traditions, ceremonies, languages and social customs implicit in his choice. Giving form to this historically-rich culture was a task Lowell set for himself with pleasure and excitement, what is ancient and inherently true to the Hopi people was newly rediscovered and revered through Lowell's dawning awareness of what it was to be Hopi.

Each form and figure tells a story as does the process Lowell employed in its creation. His images were inspired by Hopi beliefs and were "liberated" from cottonwood root-the Hopi traditional carving material-through Lowell's vision of what lay within. Although he could have worked faster in preparation for bronzing by using wax or clay, Lowell preferred to interact with the wood, a material he respected for its life character. The castings made from his carvings via the lost wax method retain that spirit. Even the grain of the original wood can be discerned in the finished bronze.

Take notice in this bronze that the two Hopi young men are tussling over a Hopi basket, the most prized of all the thrown gifts during the basket dance.

This bronze of "Hopi Conflict" was cast in an edition of 35 of which this is number 1. It was completed in 1982.

Condition: original condition with slight abrasion to the wood pedestal
Provenance: from the estate of a California family

Subject: Bronze Sculpture Entitled "Hopi Conflict"
Artist: Lowell Talashoma, Sr. (1950-2003)
Category: Bronze
Origin: Hopi Pueblo
Medium: bronze casting, wood pedestal
Size: 12-1/2" tall including pedestal
Item # C3365D

Grace Chapella was born February 4, 1874, at the Tewa village of Hano at First Mesa on the Hopi Reservation.  This was just a decade after the end of the Civil War, and two years before Custer's Last Stand at the Battle of the Little Big Horn.  It was also eight years before the Reservation was established as such.  She witnessed the first horseless carriage arrive on the Reservation and recalled how frightening it was.  In 1927, she became the first person from Hopi Pueblo to fly in an airplane, going from the Grand Canyon to Long Beach for a pottery demonstration.  Read more about Grace Chapella.

This set consists of a sterling silver salt cellar and serving spoon and a pepper shaker, all in the style of Navajo, or quite possibly Hopi silverwork. The workmanship is extraordinary with a top layer consisting of cutout designs imposed over a lower layer of smoke-colored silver backing. It is the overlay technique that makes us say it could be of Hopi origin.

Condition: original condition
Provenance: from the personal collection of Margaret Gutierrez, Santa Clara Pueblo
Recommended Reading: Masterworks and Eccentricities: The Druckman Collection; Navajo and Pueblo Jewelry and Metalwork 1880-1950 by Robert Bauver

Subject: Pair of Salt and Pepper Containers
Unknown Maker
Category: Silver Objects
Origin: Diné - Navajo Nation
Medium: sterling silver
Size: 1-1/8" tall x 1-7/8" diameter
Item # C3371E

This group is a mixture of shirt buttons, moccasin buttons and silver beads and cones. They are all sterling silver and, except for the shirt buttons, are handmade Navajo items. The shirt buttons may be of commercial manufacture.

Subject: Selection of Sterling Silver Buttons and Beads
Unknown Maker
Category: Buttons and Conchas
Origin: Diné - Navajo Nation
Medium: silver
Size: 1/8" to 1"
Item # C3371F

Pop Chalee was well known for her murals and was commissioned to do work for Marshall Fields in Chicago, Santa Fe Railroad Ticket Office in Santa Fe, New Mexico State Capitol Building, the Albuquerque Airport and the Grand Hotel on Mackinac Island. One of her most interesting works, which can still be seen today, is part of a mural commissioned for Maisel's Gallery on Central Avenue in downtown Albuquerque. In this piece she collaborated with other well-known artists Harrison Begay, Awa Tsireh, Joe Herrera and Pablita Velarde. Two of Pop Chalee's very large paintings hang in the Albuquerque International Airport.

Blue Flower, as she is known, was praised for her whimsical interpretations of animal and forest scenes executed in bold, bright colors. She studied in the 1930s at the Santa Fe Indian School under the tutelage of Dorothy Dunn, whose influence is quite apparent in her work as she created traditional two dimensional scenes of animals and everyday pueblo life. However, she veered away from Dunn's more conservative interpretations of Native life with her use of color and fairytale-like creatures such as these three leaping deer.

Pop Chalee had her own style which has not been copied by any other Native artists. Her animals are lean and graceful and traditionally have long extended legs. These three leaping deer are outlined in black and painted in three different shades of tan. There is no ground plane or backdrop as is traditional with students of the Indian School. The half circle in upper right could be her interpretation of the moon. The single flowering plant in lower left is the extent of decoration. The painting is signed in lower right.

Condition: The painting is in original condition.

Provenance: from a major painting collector family of Arizona

Recommended Reading: The World of Flower Blue by Margaret Cesa

Subject: Pop Chalee Painting of Three Leaping Deer
Artist: Merina Lujan (1906-1993) Pop Chalee - Blue Flower
Category: Paintings
Origin: Taos Pueblo
Medium: casein
Size: 9-1/4" x 7" image; 15-3/4" x 13-1/2" framed
Item # C3267N

Joe Herrera Quintana was a very private person and, as a result, very little is known about his personal life, but he spent his adult life making jewelry for a number of stores and dealers. He worked for Gan's, Packard's and Simpson's stores in Santa Fe, and for Maisel's and The Covered Wagon in Old Town Albuquerque. Finally, he worked for Irma Bailey at Irma's Indian Arts & Pawn in Albuquerque from 1966 until she closed the shop in 1971. He then returned to Cochiti Pueblo where he continued making jewelry and drums and continued supplying Irma Bailey with jewelry. After he passed away, Bailey had a collection of over 600 items of Quintana's jewelry and silver works. In 2004, the Museum of Indian Arts & Culture in Santa Fe exhibited a large amount of this collection.

This belt contains 9 oval sterling silver conchas, each with a turquoise nugget at its center. A beautiful sterling silver buckle with rays spreading outward from the sides and stamped designs on the up and down ends. A turquoise stone sits in the middle of the buckle. The buckle is stamped JHQUINTANA COCHITI NM.

The belt fits waist sizes from 28 to 30, obviously designed for a petit person. Additional holes could be punched in the leather to expand the size to a maximum of 32 inches.

Condition: very good condition
Provenance: from the personal collection of Margaret Gutierrez, Santa Clara Pueblo
Recommended Reading: Joe H. Quintana Master in Metal: Selections from the Irma Bailey Collection, Museum of Indian Arts & Culture

Subject: Cochiti Pueblo Silver and Turquoise Concha Belt
Artist: Joe H. Quintana (1915-1991)
Category: Belts and Buckles
Origin: Cochiti Pueblo
Medium: sterling silver, turquoise, leather
Size: 2-3/8" x 1-7/8" each concha; 3" x 2" buckle
Item # C3371B

This very stylized sculpture of a bear was carved from Popsicle Alabaster that has a beautiful warm coral color and a fine polish. According to the owner, it dates to the mid-1980s. It is signed Haozous on the lower right leg.

Bob Haozous is a Warm Springs Chiricahua Apache Indian and the son of famous sculptor Allan Houser. Haozous has major art sculptures in two dozen cities in the United States and Europe. He has been included in many exhibitions, numbering over two dozen. He is recognized as a major American Indian artist of the 20th century.

Condition: original condition except there may be a small abrasion on the bear's head.
Provenance: from the collection of Michael Hamilton, manager of the Case Trading Post, Wheelwright Museum in Santa Fe from 1978 to 1998.

Subject: Popsicle Alabaster Sculpture of a Bear
Artist: Bob Haozous (1943 - present)
Category: Stone
Origin: Apache
Medium: Popsicle Alabaster
Size: 5-1/4" tall x12-1/2" long x 3-1/4" wide
Item # C3375B

Bob Haozous is a Warm Springs Chiricahua Apache Indian and the son of famous sculptor Allan Houser. Haozous has major art sculptures in two dozen cities in the United States and Europe. He has been included in many exhibitions, numbering over two dozen. He is recognized as a major American Indian artist of the 20th century.

This small American bison was carved from Tennessee limestone. The body of the bison is highly polished and the hair section was achieved by pecking at the stone with a sharp instrument. The sculpture is signed on the underside B Haozous. It is not dated. According to the owner, it dates to the mid-1980s.

Condition: original condition.

Provenance: from the collection of Michael Hamilton, manager of the Case Trading Post, Wheelwright Museum in Santa Fe from 1978 to 1998.

Subject: Tennessee Limestone Sculpture of an American Bison

Artist: Bob Haozous (1943 - present)
Category: Stone
Origin: Apache
Medium: Tennessee limestone
Size: 3-3/4" tall x 5" long x 3-1/2" wide
Item # C3375A

The Aguilar sisters—Asunción Aguilar Caté and Felipita Aguilar Garcia—and their sister-in-law, Mrs. Ramon Garcia, were exceptional potters in the late 19^th and early 20^th century period at Santo Domingo Pueblo (now Kewa Pueblo).  They followed tradition in their early works in that designs on their pottery were typical strong black geometrics on creamy white slip.  According to some records, sales of pottery of all potters drastically slowed around 1910 and Mr. Seligman, trader at the post at Santo Domingo, suggested they try developing something different to see if that would spur sales.

The women developed two styles of decorating: one was red and black with white outlining; the other was black with thin white outlining.  It appears that Asunción Caté seemed to prefer the style using black and red, such as this one.  The majority of the surface of her jars are painted with strong heavy black pigment and accented with white and red.  In this case, the red is limited to lines outlining the black windows around the neck.  Below the black mid-body is a traditional wiped-on red band over the base cream slip.

The new design creations by these women were not received with any fanfare at the time and apparently sales did not noticeably increase, however, in the late 20^th century, their pottery was received with much enthusiasm by collectors and their enormous creativity has now been recognized.  They certainly are among the innovators of 20^th century potters along with Maria Martinez, Helen Cordero, Popovi Da, Tony Da and others who were true creators of something new. Read More..

The primary design feature on this jar is what has been named capped spirals and it appears on Zuni pottery dating since 1850. In this jar, two capped spirals are joined by their long black line which results in a triangular effect. There are pairs of capped spirals in two rows on the main body separated by a series of orange birds with strong black eyes. The continuous band of orange birds is broken twice by placement of large medallion figures.

The neck design features the traditional daggers and hachured triangles seen on most Zuni jars of the late 1800s. The rim of the jar and base are painted black and a puki line is definitely discernible. The jar certainly dates to no later than 1880.

There have always been strict guidelines at Zuni Pueblo regarding pottery decoration, yet each potter has also always had some degree of freedom. The things that seem to be traditional and inflexible are the manner in which the main body decoration and that of the neck are separated. According to Zuni informants to Ruth Bunzel in 1924 and 1925, it is imperative that the first bit of decoration that goes on any Zuni jar be the black framing line or pair of framing lines that separate the neck from the main body. It is also imperative that this line or pair of lines not be connected. Today we refer to this as a ceremonial break. The informants were explicit in these statements.

Another noticeable aspect on Zuni jars is that there is no correlation between the design of the neck and that of the body of the vessel, except that a certain harmony is preserved between the two. The preferred neck decoration seems to be that shown on this olla. It consists of two designs and they are always used together. One of the designs has a diamond as its center, which represents the bird sling used by boys. The extended parts of this element with the crooks and hachured lines represent the face painting of the Newekwe society. The primary part of the second design around the neck is the triangular arrowhead-looking element that the Zuni women call the thunder knife which the priests use in many ceremonies. Another interesting observation is that the neck of the vessel is generally of the same height as the black underbody of the jar.

Traditionally, the body of the vessel is divided into three horizontal bands-two of which are wide and one narrow. Placing medallions at designated spots, as in this jar, frequently breaks up these horizontal bands; however, that further emphasizes the horizontal nature of the design. There are two medallions on this jar and both are simpler in style that medallions of the post-1900 period.

The upper and lower bands on this jar are of unequal width and feature mirror image designs, however, the design in the lower panel is executed in smaller scale due to the shape of the vessel. According to Bunzel, the spiral designs used in the upper and lower bands of a jar will never be used in any other position, such as the neck. Neck designs and body designs are not interchangeable. The spirals here were described to Bunzel as representing the drumstick used by fraternities in their ceremonies in prayers for rain.

A band of red birds, each with black legs and a black dot for an eye, separates the two bands of spirals. The birds are not outlined in black. The use of red elsewhere in the design of the jar is outlined in black, as in the triangles and the medallions.

This jar evidences a puki bulge at the underbody and a prominent ridge at the base of the neck. The base is concave and the rim exhibits a definite lip. It is an excellent example of a 19th century Zuni jar with designs that precede the now-popular deer designs.

Condition: very good condition for a jar of this age. There is some rim abrasion, probably from use as a water jar and ladle.
Reference: The Pueblo Potter: A Study of Creative Imagination in Primitive Art by Ruth Bunzel. Columbia University, New York.
Provenance: formerly the property of a family from Gallup, NM who departed the area in mid-20th century.
Recommended Reading: The Pottery of Zuni Pueblo by Lanmon and Harlow

Subject: Zuni Pueblo 19th Century Polychrome Olla with Capped Spirals
Potter Unknown
Category: Historic
Origin: Zuni Pueblo
Medium: clay, pigment
Size: 10-3/4" tall x 13-1/2" diameter
Item # C3376

Storage baskets of this style were the largest baskets made by the Pomo Indians. The Pomo women made these large, globular baskets to hold any variety of objects in the home-acorns, treasures, clothing and anything else they wished to store and protect. Interestingly, larger baskets of this nature were given to the new groom by his mother-in-law as a "dowry basket." The Pomo word for this style basket is Chimo (literally, "son-in-law"). This basket is a small storage basket and not of the scale of the largest ones made which could be approaching three feet in diameter.

The Pomo occupied the Pacific coast from just south of the Russian River north to the Fort Bragg area and from the ocean inland to just east of Clear Lake. The Pomo did not have a government reservation. It is estimated that their aboriginal population was as high at 8000 but was down to around 1200 by 1910. Earlier Pomo baskets are very rare because traditionally baskets were burned with their maker. Fortunately, that tradition ended.

Condition: very good condition with only a very few missing stitches and one broken foundation rod.
Provenance: ex coll Florsheim family of Milwaukee, WI
                     ex coll of a family from Asheville, NC
Reference Materials:
Native American Basketry of Central California by Christopher L. Moser
The Fine Art of California Indian Basketry by Brian Bibby

Subject: Pomo 19th Century Storage Basket
Weaver Unknown
Category: Bowls and Other Forms
Origin: Pomo
Medium: split sedge root, willow foundation
Size: 4-1/2" deep x 12-1/4" diameter
Item # C3373

Harrison Juan describes the inspiration for his innovative and distinctive current style as follows: "I was at an art show and I saw myself in the sunglasses of a collector, and I got the idea of carving people wearing glasses like that. I could capture their likeness and place them in their environment all at one time."

Juan is a nephew of folk art artist Johnson Antonio and remembers cutting wood for his uncle and running errands for him. It was his influence that was the motivation for Juan to start carving. He works from cottonwood he finds along the creek beds of the San Juan River. It is his hope to work full time as an artist, but has found it necessary to work construction jobs as well.

"I just try to keep it going," the artist explains, "showing the joys of reservation life and Navajo people at gatherings, ceremonies, and just the fun of friends being together at local posts. I carve the older people and show how they are dressed (wrapped in colorful trade blankets, sometimes called Pendleton's, and sporting their best jewelry)." Many are wearing his signature sunglasses. Captured in their reflection are groups of neighbors and friends and perhaps a glimpse of clear Western skies and surrounding scenery of the reservation.

This carving of a Navajo woman with her green pleated skirt and bright yellow blouse is shown holding a can of Coca Cola while in her sunglasses is a reflection of Pepsi. She is wearing a concha belt, a two-strand turquoise nugget necklace and traditional moccasins. The carving is signed by the artist on the underside and was completed in the 1980s.

Condition: original condition
Provenance: from the collection of Jan and Chuck Rosenak.
Recommended Reading: Navajo Folk Art by Chuck and Jan Rosenak

Subject: Navajo (Diné) Folk Art Wood Carving "Lady in Yellow with Coke Can"
Artist / Carver: Harrison Juan (1953-present)
Category: Other Items
Origin: Diné - Navajo Nation
Medium: wood, paint
Size: 15-3/8" tall x 5-1/2" diameter of base
Item # C3347H

This sculpture is of a Female Skinwalker, which, in Navajo legend, would be much rarer than a male Skinwalker. There are several varieties of Navajo witches, one of which is using his (rarely her) powers to travel in animal form. In some versions, men or women who have attained the highest level of priesthood are called "pure evil."

They are human beings who have gained supernatural power by breaking a cultural taboo. Specifically, a person is said to gain the power to become one upon initiation into the Witchery Way. Both men and women can become skinwalkers, but men are far more numerous. It is generally thought that only childless women can become witches.

Larry Jacquez (pronounced Hackus) is a Navajo folk art carver who specializes in the unusual. He is known to have carved and painted extraordinary objects, accurately depicting the Yeis, Navajo mythology, and the dances and escapades of skinwalkers. The Rosenaks stated that they were surprised by the appearance of skinwalkers in his work, and doubtful of their very existence, but Jacquez told them that "evil witches do exist."

Some Navajo also believe that skinwalkers have the ability to steal the "skin" or body of a person. The Navajo believe that if you lock eyes with a skinwalker, they can absorb themselves into your body. It is also said that skinwalkers avoid the light and that their eyes glow like an animal's when in human form, and when in animal form their eyes do not glow as an animal's would. Some Navajos believe that if you make eye contact with a skinwalker, your body will freeze up due to the fear of them and they then use that fear as energy against the person.

A skinwalker is usually described as naked, except for an animal skin. Some Navajos describe them as a mutated version of the animal in question. The skin may just be a mask, like those which are the only garment worn in the witches' song.

This carving of a female skinwalker is naked as skinwalkers are thought to be. She has the body, from the waist down, of an animal including a tail. She is elaborately decorated with turquoise jewelry. Her face is painted a ghostly white.

This carving is signed on the underside "Evil Pleasures" Navajo female skinwalker '01 L. Jacquez.

Condition: very good condition with only one string on the right bicep partially missing.
Provenance: from the collection of Jan and Chuck Rosenak
Recommended Reading: Navajo Folk Art by Chuck and Jan Rosenak
Referenced Material: the information on female skinwalkers was excerpted from the online source of Wikipedia.

Subject: Navajo (Diné) Folk Art Wood Carving "Evil Pleasures"
Artist / Carver: Lawrence Jacquez (1965- )
Category: Other Items
Origin: Diné - Navajo Nation
Medium: wood, paint
Size: 9" tall x 4-3/8" diameter of base
Item # C3347B

Dolores Curran, originally from Santa Clara Pueblo, married and moved to Ohkay Owingeh Pueblo around 1977. She has specialized in miniature pottery since her first piece at age 9. Her designs are each original to the piece of pottery on which she is working. She does not record her designs because she doesn't want to start copying herself. She prefers to fit each design to the pot on which it goes.
This exquisite small jar is a miniature version of a storage jar. The exception to that would be the lid as a standard storage jar would generally not have a lid. In her incomparable fashion, she reversed the normal pattern of burnishing the entire jar and then painting a design in matte paint. Here she has left the entire jar in matte finish except for the burnished rim and base and the top of the lid. Her designs were carved with the utmost care and precision. Dolores stated that she applies as many as five coats of slip to each design. In her scale of work, she is unmatched by any others.

Dolores Curran and Geri Naranjo are sisters and both work in miniature scale. Dolores's daughter, Ursula Curran, also makes miniature pottery. The entire family is very talented.

Condition: new
Provenance: from the potter through an intermediary
Recommended Reading: Pueblo Indian Pottery: 750 Artist Biographies by Gregory Schaaf

Subject: Santa Clara Matte Black Lidded Jar
Artist / Potter: Dolores Curran
Category: Contemporary
Origin: Santa Clara Pueblo
Medium: clay
Size: 3-3/4" tall without lid; 5-1/4" tall with lid; 3-3/4" diameter
Item # C3369E

Alma Concha is one of six Loretto sisters originally from Jemez Pueblo. Her sisters are Mary Toya, Fannie Loretto, Lupe Lucero, Edna Coriz and Dorothy Trujillo. She began learning the techniques of making pottery as a child and has continued during her adult life. Her first storyteller was made in 1969 after she married and moved to Taos Pueblo.

Her style of storyteller figurines and nacimientos may be classified as minimalist in that there are few decorations on the figures. The natural orange clay used for the base structure is covered with cream clay paint for clothing and hair. The faces are without eyes and sometimes without mouths-resulting in the most minimalist of features. This is a style developed completely by Alma and not copied by others. This storyteller was made in 2003.

Alma has been known as Alma Loretto, Alma Concha, and now, Alma Maestas. In 1979, she was a part of the landmark Albuquerque Museum exhibit "One Space: Three Visions." Three years later, she was included in an article in National Geographic Magazine.

Condition: original condition. It appears that Alma left a fingerprint on the right side of the head of one of the children. That's as good as a signature! Generally, if a potter touches the clay before firing, a fingerprint, which is not visible at the time, will reveal itself after firing.
Provenance: from the collection of Jeffrey Trent of Las Vegas, NV
Recommended Reading: The Pueblo Storyteller by Barbara Babcock

Subject: Male Storyteller with 5 Children made by Alma Concha 
Artist / Potter: Alma Concha (1941 - present)
Category: Figurines
Origin: Jemez Pueblo
Medium: native clay
Size: 8-1/2" Tall
Item # C3310K